On diverse fan fora, there has been no lack of extravagant eulogies, but personally, I must appear a tad more unimpressed, now I finally hear Epsilon In Malaysian Pale. Although it stylistically leans toward Rubycon, my musical innocence is a little rough around the edges, after listening to remixed excerpts, a re-recording in its entirety, as well as a backwards version of Maroubra Bay.
Anyways, the album is a little different than the re-recording. I think the original has lesser nerve, and hearing the re-recording at first, and having it on cd, contrarily to this cassette, I guess I’ll return to the aforementioned re-recording more often.
In attempt to sum up, why the album has gained such a hearing, I can only guess.
The title track is a tropical, almost god-fearing mellotron parade, seeking a trance-like calmness, with undertones of the subconscious, with the disturbing timbres.
Tangerine Dream sought this style, if not more western sounding, when they in 1975 played a string of cathedral concerts in England.
My memory seems to fail after listening to the track to end. No trace of melodic hit potential here. Is this because the music is forgetable? Nah, actually not, it rather strives towards a metaphysical level.
The most odd about this album, is that the second side of the album almost feels backwards, after having listened the backwards version, on the compilation LP, Electronic Dreams.
We’re talking about quite fast, sequencer based music, optimistically glittering on the sunny hemisphere of the sinister Rubycon Part 1.
It’s genius, by all means. Even David Bowie used the album as an alibi to flee to Berlin, after a drug-ridden era in USA, around his ‘soul’ album, Young Americas, but I have, unfortunately, heard too much, before I heard the original, and Epsilon In Malaysian Pale from 2004 is my Epsilon In Malaysian Pale, I dare say. (March 2007)